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Originally published in 1983, Leo Steinberg's classic work has changed the viewing habits of a generation. After centuries of repression and censorship, the sexual component in thousands of revered icons of Christ is restored to visibility. Steinberg's evidence resides in the imagery of the overtly sexed Christ, in Infancy and again after death. Steinberg argues that the artists regarded the deliberate exposure of Christ's genitalia as an affirmation of kinship with the human condition. Christ's lifelong virginity, understood as potency under check, and the first offer of blood in the circumcision, both required acknowledgment of the genital organ. More than exercises in realism, these unabashed images underscore the crucial theological import of the Incarnation. This revised and greatly expanded edition not only adduces new visual evidence, but deepens the theological argument and engages the controversy aroused by the book's first publication.
Near the end of his writing career, Cassian the monk was commissioned by the future Pope Leo the Great to reply to the Christological positions of Nestorius. Nestorius saw in Christ two subjects, that of the Word and that of the man Jesus. Cassian's foray into ecclesiastical controversy yields a cannonade of arguments from the Scriptures and the early Fathers, bombarding the Nestorian position with an impassioned rendition of the general Christological views of East and West. Unsurprisingly, for one such as Cassian who was so concerned with Christian sanctity, it places special emphasis on the difference between the personal divinity of Christ and the indwelling of the Word in the saints—for the personal divinity of Christ is what indeed makes it possible for Christ to be said to dwell within those saints who tread the heights of union with God. What Cassian lacks in the precision of an Athanasius or a Maximus the Confessor, he makes up for in the verve of his argumentation. (Ex Fontibus Co.)
In this volume, the study of the history of the doctrine of the Holy Spirit is carried on from the sub-apostolic writers to the end of the patristic period, which is generally held to terminate with Gregory the Great in the West and John of Damascus in the East. This is an early classic study in doctrinal development by one of the foremost exegetes of the late 19th/early 20th century.
According to a longstanding interpretation, book religions are agents of textuality and logocentrism. This volume inverts the traditional perspective: its focus is on the strong dependency between scripture and aesthetics, holy books and material artworks, sacred texts and ritual performances. The contributions, written by a group of international specialists in Western, Byzantine, Islamic and Jewish Art, are committed to a comparative and transcultural approach. The authors reflect upon the different strategies of »clothing« sacred texts with precious materials and elaborate forms. They show how the pretypographic cultures of the Middle Ages used book ornaments as media for building a close relation between the divine words and their human audience. By exploring how art shapes the religious practice of books, and how the religious use of books shapes the evolution of artistic practices this book contributes to a new understanding of the deep nexus between sacred scripture and art.
This volume is the first to adopt systematically a comparative approach to the role of ancient texts and traditions in early modern scholarship, science, medicine, and theology. It offers a new method for understanding early modern knowledge.